A friend lightheartedly commented about "freak-a-zoid" men contacting her.
These were men who had made lewd comments to her, had been intoxicated when she met them, or who had called her in the middle of night. Or men she connected with them via online dating, who obtained her phone number before she saw signs of deception or manipulation.
Though she was half-joking, this brought up my fears.
I have witnessed first-hand the devastating effects of violent stalkers. The woman lived with an ever-present dread and consuming fear, while plagued with a myriad of stress-related physical symptoms, including chronic pain. By the time the predator situation was resolved, we had involved law enforcement in two states, and police reports had been filed in two states.
Also involved were district attorney’s offices, public defenders offices, many private attorneys, domestic violence advocates and about twenty victim rights and disability rights organizations in multiple states.
While being stalked and threatened night and day, other emergencies arose. She had to deal with the resulting collapse of her mental and physical health. Over 18 months, she saw fifteen doctors and medical specialists, as well as two therapists. Due to extreme anxiety and the resulting agoraphobia, she was prescribed anti-anxiety drugs, anti-depressants and pain killers. Five ER visits and five hospitals later, and after fleeing her home-state, she began piecing together her life in a city she was unfamiliar with, and where she had no support network.
But she was alive.
I'd like to share some things I've learned about dealing with, and avoiding this kind of nightmare. Here, I will refer to "Freak-a-zoid" men as predators.
This is the mindset of a woman who opens the door to violent predators: "I decided to just be nice and let him down easily, so I wouldn’t hurt his feelings."
This is the approach of many woman before they became stalking victims or victims of violence. Predators run a numbers game. They hit up on 12 women a day, focusing on the woman that reject them the least. The ones that engage in more eye contact, picked up the phone to speak with them (even if to say "do not call me"), or spend another minute in conversation after inappropriate remarks were made.
How could a man open a woman's heart a little bit, so fast?! The oldest manipulation tactic in the book is flattery: “You are so beautiful.” Do predators still use this?! Yes. They use it because it works.
And there is the all-time favorite, “I love you.” For many women, these words are like a drug. Predators know it. Predators use it. There are variations. “I think you might be the one,” is how one controlling and violent man spoke to woman at their first meeting. He was a successful predator.
When undesirable men attempt to connect with you, you are in the drivers seat. You can give away your power, or use it. If he calls, do not pick up the phone. If you do, then the predator succeeds, and you are playing a game of Russian roulette with your safety. In the predators mind, that small connection is interpreted as a "buying sign." A green light.
Even a returned smile can place his focus on you. Yes, this is sad, and it sounds cynical... unless you understand the statistics and reality of crimes against woman. If you do not feel comfortable with a man, disengage completely. Every study indicates that when a woman is dealing with this kind of man, there can be no "middle ground."
In other words, if you respond to an email, even if to say “no thanks,” you have given him what he wants (connection) and further, communicated "I am interested.... ("no" means "yes," etc.)
If you are walking alone in a place that does not feel safe, do not engage in eye contact with strangers. Do not respond to talk. Walk quickly, and with direction. Pepper spray should be in your purse or on your keychain (available online and in Seattle at Big 5 stores).
If you are going to meet someone you do not know, it's OK to bring a friend. They could even sit at another table. Prior to meeting, call or email pertinent info to a friend or family member. For example, where you are meeting, his name and phone number, even his car model and make and license if you are able to do that.
If you feel it's necessary, you could even be making the call as you meet. "Mike's got blue eyes and short black hair and drives a white Honda Prelude... so I don't think this is the same guy. Talk to ya later!" That might do well as a "don't mess with me" message! In the mind of a predator, this places you in the less-desirable victim category.
Is a conscientious and considerate man really going to have a problem with a woman who is being smart and playing it safe?
“I’m really careful about meeting any man I don’t know.”
Did you know you can ask that police file a “courtesy report” if you are concerned about someone’s behavior, but not ready to file for a restraining order?
The filing of a legal a restraining order is free. If a domestic violence victim requires help filling out paperwork, there are caring advocates who will help. Free.
You can have a criminal background check done on anyone for about $25.
The first thing law enforcement will ask is “do you have any evidence or documentation of this?” The ONLY thing that really matters in court is evidence. So, save all data and records of communication, even if they are non-threatening. Copies of emails, texts, pics, letters. Everything. Sometimes, just proving that someone was communicating with you on any level can become an important issue.
If a man's behavior is worrying you, here are some basics about evidence. Emails are golden. They hold up in court and a predator cannot backtrack and claim it was never sent, etc. Next most important are voice mails. Save all concerning voice mails. Another advantage with phones is that if things get real bad, phone records can be subpeooned, showing for example, a stalking pattern of calls to you. The worst idea is to have a conversation person to person. Totally undocumentable.
One woman flew into her hometown to retrieve her belongings from a violent predator. She was smart to have a friend (witness!) with her. She was also smart to bring a camera. The resulting picture of the predator being arrested by law enforcement officers for felony assault became a crucial piece of evidence, as she continued to deal with harassment over the following year.
Even though a felony arrest is a matter of public record, that single cell phone picture was a Godsend. Anyone can claim a (arrest report) document is forged or inaccurate, but a picture of the arrest in progress? Home run.
Get witnesses. If her friend had not been present, the matter would have been what lawyers call a "one-on-one," meaning it is simply one persons word against another’s. The judges dread it. The attorneys dread it. It's a mess. Justice basically becomes a coin toss.
If you are concerned about a predator in your life, then you must think in terms of evidence and witnesses. Never meet a male predator alone. Sounds simple, but it happens all the time. In these situations, woman are often retrieving belongings, or children are being exchanged. Predators use these situations as way to gain advantage allowing further abuse and manipulation.
If it is already a highly charged situation, call the police or sheriff’s department and ask for help, and at least put them "on call" as to the possibility of problems. Write down the officer's name and also get the name of his supervisor. Or call the local courthouse and ask for a domestic violence advocate.
Getting a cell phone picture of a man as you meet is a great idea. “I have a bet with my friend about what color shirt you’d be wearing.” That will cool his predator vibe down a few notches. Especially when he sees you sending his picture to someone.
For woman with a past history of abuse from men, there is disturbing new information about trauma. A woman who has been traumatized by a man will have a DECREASED ability to remain rational in similar future situations. This means that because of your past wounds, there is an increased likelihood that you place yourself in harm's way to be hurt in the same way again!
This may be a partial answer as to how some victims appear to attract abusive situations, or become what could be referred to as "serial victims." Whenever they are close to those types of people, there brain shuts down!
For woman in this category, one solution is to check in with friends about your decisions. If a situation arises during a date or meeting, tell the man you just received an emergency text, and that you have to go. “I’m going to take one more picture of you (you are not asking, you are doing!), and then I’ve got to go!” Snap.
Of course you are in a public place, so that could be a quick and clean exit.
There is a reason psychopaths, sociopaths, anti-socials and borderline personalities lie so well… they aren’t even attempting “lie," as you or I would define it. In many cases, predators make it up as they go. They rewrite reality and believe their own fiction.
This is why they are phenomenal liars. Better than the best. Able to answer every conceivable question about their lies. So if you tell yourself you can spot “lying signs,” forget it. A predator is not "lying" when he tells you about the famous people he hangs out with, his tropical vacation homes and his 8 cars. He's describing the truth in his mind.
If you plan to do some dating, buy a disposable cell phone with 300 free minutes for about $25. By using a designated phone for all date contacts (or men you are uncertain about), your regular personal number remains confidential.
One last thing. Do not believe the laws will protect you. Do not believe the police will protect you. The police and the legal system and largely ineffective and blind. A retarded stalker could outmaneuver the laws while destroying a defenseless woman’s health and life. The trick is to stay off the radar of the predators. Do not be nice!
If this topic interests you, check out
http://www.bullyonline.org/workbully/serial.htm#Sociopath
http://en.wikipedia.org/wiki/Borderline_personality
KEYWORDS: Keywords domestic violance domestic abuse violence intimate partner violence family violence domestic abuse help woman violence women violence violence against women spousal abuse battered women domestic assault abused women domesticviolence org domestic abuse laws domestic abuse statistics domestic abuse victims family violence statistics history of domestic abuse domestic abuse project domestice violence domesticviolence domestic abuse lawyer teen dating violence abuse against women domestic violent domestic child abuse spousal violence abusive relationships statistics spouse abuse statistics battered men spousal abuse statistics woman abuse women and violence statistics on abusive relationships abuse women abuse violence on women women abusers domestic abuse facts spouse abuse abusive relationships violence statistics verbal abuse stop violence against women emotional abuse restraining orders women's shelter abusive relationship restraining order
Wednesday, December 23, 2009
Sunday, December 20, 2009
Laughing Guru
There are stories of Ram Dass's guru, who traveled from village to village in India. Wherever he went, he performed miracles and healed people. He loved to laugh and was known for his childlike sense of humor.
Upon arriving as a sacred guest of the village, they would put him in a special home for several days, and surround the home to protect the guru from the crowds. He thought it was all quite hilarious.
They would bring him the food he requested, treating him like a king. But his lifestyle was limited by the entourage of security. With a grin, he would ask, “Tell me again, how did I become your prisoner?!”
Over and over, despite the security and crowds, he would be seen RE-ENTERING.... fighting to get back into the dwelling!
So the building containing a holy man is surrounded by thousands day and night. Yet the guards are baffled as to how the guru is leaving, and more, how he is managing to navigate thru the crowds to reach the outside of the home.
Moments after speaking with him, local security is flustered when the guru is knocking on the door, begging to be let back in.
On another occasion, many were thrilled to be able to join in a leisurely boat tour with the holy man. Twenty people were thrilled to participate in the boat ride through the quiet, deep river waters of the jungle.
But in the middle of the boat ride, the holy man is suddenly in the water!! Wildly splashing water and yelling “I cannot swim!” Anxious to be a part of the guru-rescue... many jump in and swim to his assistance. But his splashing is too much. He screams, "I'm dying!" Eventually the chaos subsides and the water becomes quiet. All present are near the breaking point, weeping and shouting their cries of grief.
Moments later, they spot him calmly doing the backstroke in a distant lagoon. He apparently has no recollection of the incident. The humbly asks if he can come aboard and return to the village.
The guru seemed to be continually tickled by the fact that he was "in the play" yet unlike others, knew it was a play.
Maybe he was teaching us that life should not be taken so seriously.
Upon arriving as a sacred guest of the village, they would put him in a special home for several days, and surround the home to protect the guru from the crowds. He thought it was all quite hilarious.
They would bring him the food he requested, treating him like a king. But his lifestyle was limited by the entourage of security. With a grin, he would ask, “Tell me again, how did I become your prisoner?!”
Over and over, despite the security and crowds, he would be seen RE-ENTERING.... fighting to get back into the dwelling!
So the building containing a holy man is surrounded by thousands day and night. Yet the guards are baffled as to how the guru is leaving, and more, how he is managing to navigate thru the crowds to reach the outside of the home.
Moments after speaking with him, local security is flustered when the guru is knocking on the door, begging to be let back in.
On another occasion, many were thrilled to be able to join in a leisurely boat tour with the holy man. Twenty people were thrilled to participate in the boat ride through the quiet, deep river waters of the jungle.
But in the middle of the boat ride, the holy man is suddenly in the water!! Wildly splashing water and yelling “I cannot swim!” Anxious to be a part of the guru-rescue... many jump in and swim to his assistance. But his splashing is too much. He screams, "I'm dying!" Eventually the chaos subsides and the water becomes quiet. All present are near the breaking point, weeping and shouting their cries of grief.
Moments later, they spot him calmly doing the backstroke in a distant lagoon. He apparently has no recollection of the incident. The humbly asks if he can come aboard and return to the village.
The guru seemed to be continually tickled by the fact that he was "in the play" yet unlike others, knew it was a play.
Maybe he was teaching us that life should not be taken so seriously.
Saturday, December 12, 2009
Favorite Quotes
"You can search the world for someone more worthy of love and compassion than yourself, but that person cannot be found." Buddha
"Love your enemies." Jesus
"We look for love, but we do not see with love." Krishnamurti
"You must be the change you want to see in the world." Gandhi
"Love until it hurts." Mother Teresa
"God knows no religion." Einstein
"God is home, it is you who have gone for a walk." Unknown
"Love your enemies." Jesus
"We look for love, but we do not see with love." Krishnamurti
"You must be the change you want to see in the world." Gandhi
"Love until it hurts." Mother Teresa
"God knows no religion." Einstein
"God is home, it is you who have gone for a walk." Unknown
OUTGUNNED BY LOVE ~A Combat Veteran’s Angelic Encounter~
It was to be a routine mission.
A single drop, and auto-pilot
all the way home.
I sat across from you, sipping my latte,
talking about
God and love
and every child everywhere.
I held you locked on radar,
and listened for the purr of the release doors
before pulling up
and away.
Homeward bound,
I reflected on a world
kept safe from danger.
But that silence.
After my words,
you seemed to stretch comfortably
into your home
of unnatural quiet
like a sleepy cat
on a couch.
With those magnificent
disarming eyes.
I was sure you had swallowed the pill.
But my confidence fell scattered in pieces
when a tear slipped from your
beautiful eyes,
and the words "thank you"
left your lips.
My heart nearly froze,
and my war-torn mind
engaged it's
tired machinery.
My intellect
was frantic to
comprehend
your
staggering
precision.
You adored my puppy-watch.
But you touched my hand
so tenderly
before a direct hit
could be managed.
By the time I realized
that my front-line
had been
penetrated,
you were already
basking in the sun of
some room
I'd never heard of;
right near my heart.
My rivers and canals
pulsed with your
devastating quiet.
My bridges and tunnels
hummed with
the promise of
your incoming
touch.
No experience could have
prepared me
for my perfectly achieved death.
In my last effort,
trembling hands
offered you my poem
before retreating
under the table.
You became still again. That familiar quiet!
Like a super-magnet
pulling nails from wood,
you sucked words from the page.
Oxygen seemed to be leaving the air,
as my unbelieving eyes
gasped in horror.
My fears,
my children,
my missing parts
my broken parts
my mothers words
my unspoken dreams
my darkest rooms
and my core
lay raw
in your hands
like a house teetering on collapse.
My fatal blunder! Surely my last mistake!
Once again caught in your stillness,
I lost all power.
My fighter-plane
exited blue skies
in a trail of
oil and smoke.
You turned the page,
and with Mother Mary's sweet voice,
explained 'I am reading each line three times."
Pinned by your
unending silence,
I watched in awe
as the last nails
were driven with smiles and words
that my wildest dreams
could never have imagined.
Lying there in a pool
of who I once was,
my mental faculties began to slip;
my eyes and ears
began to dance
with a delirious mind.
Captive in a suddenly-strange world,
I was surrounded by you.
Teargas exploded
in every window,
as a bullhorn
echoed the words
"that was beautiful"
through my
rattled skull.
With no guns,
bullets or hidden daggers;
with no shelter or food;
without the possibility
of a fighting chance
I prayed for my soundless demise.
And as she laid me
to rest;
as she followed my body
to the ground;
as her warm hands
touched my cheeks,
an unfamiliar voice
framed the last moment
with "thank you."
The war was over.
The voice was mine.
My fighter-plane is could not be recovered.
Thank you.
A single drop, and auto-pilot
all the way home.
I sat across from you, sipping my latte,
talking about
God and love
and every child everywhere.
I held you locked on radar,
and listened for the purr of the release doors
before pulling up
and away.
Homeward bound,
I reflected on a world
kept safe from danger.
But that silence.
After my words,
you seemed to stretch comfortably
into your home
of unnatural quiet
like a sleepy cat
on a couch.
With those magnificent
disarming eyes.
I was sure you had swallowed the pill.
But my confidence fell scattered in pieces
when a tear slipped from your
beautiful eyes,
and the words "thank you"
left your lips.
My heart nearly froze,
and my war-torn mind
engaged it's
tired machinery.
My intellect
was frantic to
comprehend
your
staggering
precision.
You adored my puppy-watch.
But you touched my hand
so tenderly
before a direct hit
could be managed.
By the time I realized
that my front-line
had been
penetrated,
you were already
basking in the sun of
some room
I'd never heard of;
right near my heart.
My rivers and canals
pulsed with your
devastating quiet.
My bridges and tunnels
hummed with
the promise of
your incoming
touch.
No experience could have
prepared me
for my perfectly achieved death.
In my last effort,
trembling hands
offered you my poem
before retreating
under the table.
You became still again. That familiar quiet!
Like a super-magnet
pulling nails from wood,
you sucked words from the page.
Oxygen seemed to be leaving the air,
as my unbelieving eyes
gasped in horror.
My fears,
my children,
my missing parts
my broken parts
my mothers words
my unspoken dreams
my darkest rooms
and my core
lay raw
in your hands
like a house teetering on collapse.
My fatal blunder! Surely my last mistake!
Once again caught in your stillness,
I lost all power.
My fighter-plane
exited blue skies
in a trail of
oil and smoke.
You turned the page,
and with Mother Mary's sweet voice,
explained 'I am reading each line three times."
Pinned by your
unending silence,
I watched in awe
as the last nails
were driven with smiles and words
that my wildest dreams
could never have imagined.
Lying there in a pool
of who I once was,
my mental faculties began to slip;
my eyes and ears
began to dance
with a delirious mind.
Captive in a suddenly-strange world,
I was surrounded by you.
Teargas exploded
in every window,
as a bullhorn
echoed the words
"that was beautiful"
through my
rattled skull.
With no guns,
bullets or hidden daggers;
with no shelter or food;
without the possibility
of a fighting chance
I prayed for my soundless demise.
And as she laid me
to rest;
as she followed my body
to the ground;
as her warm hands
touched my cheeks,
an unfamiliar voice
framed the last moment
with "thank you."
The war was over.
The voice was mine.
My fighter-plane is could not be recovered.
Thank you.
EARTH PROGRAM 7.0: Standard Contract
Earth Program Standard Contract
EARTH PROGRAM 7.0
LOCATION: VORTEX 14, COSMOS #1, MILKY WAY
I BEQUETH UPON EARTH PROGRAM 7.0 FULL RIGHTS TO ADMINISTER AND MAINTAIN A PHYSICAL LIFE ON MY BEHALF. FOR THE EXPRESS PURPOSE OF SOUL-LEARNING, SAID LIFE SHALL INCLUDE HARDSHIP AND BETRAYAL SEQUENCES AS REQUESTED IN ACCOMPANYING “LIFE REQUEST FORM.”
GLIMPSE EXPERIENCES ARE AN EXCITING NEW EARTH PROGRAM 7.0 FEATURE.
THE FOLLOWING GLIMPSE EXPERIENCES ARE NOW PERMISSIBLE: 1) SPIRITUAL UNION BETWEEN PHYSICAL SOULS, 2) SEXUAL UNION BETWEEN PHYSICAL SOULS 3) CONSCIOUS CREATIVE PROCESSES INCLUDING ARTISTIC ENDEAVORS OF ALL SORTS.
ATTEMPTED AVOIDANCE OF SOUL-LEARNING WILL NOT CONSTITUTE JUST REASON FOR INTERRUPTION OF PHYSICAL LIFE JOURNEY. NOR ARE PETITIONS IN THE FORM OF PRAYERS, GRIEF OR COMPLAINTS TO BE CONSIDERED REASON TO DISRUPT SOUL-LEARNING PROCESS.
WHILE EXPERIENCING MYSELF WITHIN EARTH PROGRAM 7.0, I WILL AT NO TIME HAVE ACCESS TO DIRECT EVIDENCE OF THE ULTIMATE TRUTH. WITH THE EXCEPTION OF TRACE AMOUNTS IN THE FOLLOWING AREAS: DREAMS 2) INTUITION 3) ART AND MUSIC, AND 4) COINCIDENCE (I UNDERSTAND THAT ALL COINCIDENCE MUST BE APPROVED BY EARTH PROGRAM 7.0 ADMINISTRATION.)
EARTH PROGRAM 7.0 GUARANTEES A “DEATH” EXPERIENCE CONSISTENT WITH BELIEFS, INCLUDING BUT NOT LIMITED TO TUNNEL OF LIGHT, “HEAVEN,” AND ALL OTHER BELIEF SYSTEMS, RELIGIOUS OR OTHERWISE. EARTH PROGRAM 7.0 IS THE ONLY SEAMLESS TIME SPACE LEARNING GRID TO OFFER A FULL 28 MINUTE DEATH EXPERIENCE MIRRORING USER EXPECTATIONS.
IMMEDIATELY PROCEEDING DEATH EXPERIENCE, REVERSAL OF GOD-AMNESIA WILL OCCUR. TOTAL SOUL ENERGY REQUIRED DURING REQUESTED LIFE WILL BE NO GREATER THAN 9.12%.
LEARNING:
I UNDERSTAND THAT THE PHYSICAL LIFE EXPERIENCE I REQUEST MUST CONTAIN A CUMULATIVE TOTAL OF 210 HARDSHIP AND BETRAYAL POINTS. POINT SHEET ATTACHED.
BETRAYAL SEQUENCES MUST BE PRE-ARRANGED BETWEEN SOUL-PARTNERS. THE LEARNING VALUE OF EVERY BETRAYAL SEQUENCE IS PROPORTIONATE TO THE SOUL LOVE BETWEEN “BETRAYER” AND “BETRAYEE.”
WITHIN EARTH PROGRAM 7.0, NOTHING I CAN BE, SAY OR DO CAN JEOPARDIZE MY STANDING WITH GOD. THIS PHYSICAL PROCESS WILL AFFIRM MY LOVABLENESS, INNOCENCE AND THE TRUTH OF MY DIVINE HERTITAGE.
EARTH PROGRAM 7.0 WILL PRODUCE A SEAMLESS INTERACTIVE REALITY GRID THAT IS EXPERIENTIALLY RESPONSIVE IN ALL WAYS, INCLUDING BUT NOT LIMITED TO A TIME-SPACE GRID OF UNSURPASSED QUALITY.
MANIFEST PARAMETERS:
THOUGHTS AND EMOTIONS CREATE PRIMARY EXPERIENCE WITHIN THIS PHYSICAL GRID. FOR THIS REASON, THE MANIFEST RATE OF EARTH PROGRAM 7.0 IS INTENTIONALLY REDUCED TO 2%.
WHILE IN THIS SEAMLESS PHYSICAL GRID, I RETAIN 100% CREATORSHIP WITHIN MY INNER REALITY. I HAVE CONTROL OF MY THOUGHTS, EMOTIONS AND FEELINGS.
AT ALL TIMES, MY EXPERIENCE WILL DIRECTLY MIRROR MY PREDOMINANT THOUGHTS, FEELINGS AND EMOTIONS.
MY ANGEL HAS BRIEFED ME ON THE FOLLOWING POINTS:
____ MY PHSYICAL SOUL WILL BEGIN THE PROCESS CRYING.
____ MY HIGHER SELF WILL BE WITH ME AT ALL TIMES.
____ I UNDERSTAND THE EFFECTS OF GOD-AMNESIA.
____ I HAVE BEEN BRIEFED ABOUT THE IMPORTANCE OF PRAYERFULNESS
____ I HAVE BEEN BRIEFED ABOUT THE FREQUENT FLYER PROGRAM.
____MY ANGEL HAS INFORMED ME THAT I MAY BE ELIGIBLE TO LIVE A LIFE AS A CAT, AND WE HAVE TOGETHER REVIEWED QUALIFICATIONS FOR THE “EAT AND WATCH PROGRAM.”
I SHALL AT ALL TIMES POSSESS THE HEALING POWER OF LOVE. SAID POWER WILL REMAIN DORMANT UNTIL RELEASED THROUGH INNER SPIRITUAL WORK. SAID POWERS ARE CAPABLE OF HEALING ANY AND ALL POSSIBLE AILMENTS WITHIN EARTH PROGRAM 7.0.
I AM FREE TO STAND-UP, SIT DOWN, MINGLE, DANCE, OR FLY AROUND THE LOBBY UNTIL SAID LIFE IS COMPLETE.
____I UNDERDSTAND EARTH PROGRAM IS NOT FOR BEGINNERS.
____I UNDERSTAND THIS WILL NOT BE EASY.
____I WILL HAVE NO MEMORY OF THIS CONTRACT OR ANY SPECIFIC HIGHER PURPOSE.
_____________________________________________
EARTH PROGRAM 7.0
LOCATION: VORTEX 14, COSMOS #1, MILKY WAY
I BEQUETH UPON EARTH PROGRAM 7.0 FULL RIGHTS TO ADMINISTER AND MAINTAIN A PHYSICAL LIFE ON MY BEHALF. FOR THE EXPRESS PURPOSE OF SOUL-LEARNING, SAID LIFE SHALL INCLUDE HARDSHIP AND BETRAYAL SEQUENCES AS REQUESTED IN ACCOMPANYING “LIFE REQUEST FORM.”
GLIMPSE EXPERIENCES ARE AN EXCITING NEW EARTH PROGRAM 7.0 FEATURE.
THE FOLLOWING GLIMPSE EXPERIENCES ARE NOW PERMISSIBLE: 1) SPIRITUAL UNION BETWEEN PHYSICAL SOULS, 2) SEXUAL UNION BETWEEN PHYSICAL SOULS 3) CONSCIOUS CREATIVE PROCESSES INCLUDING ARTISTIC ENDEAVORS OF ALL SORTS.
ATTEMPTED AVOIDANCE OF SOUL-LEARNING WILL NOT CONSTITUTE JUST REASON FOR INTERRUPTION OF PHYSICAL LIFE JOURNEY. NOR ARE PETITIONS IN THE FORM OF PRAYERS, GRIEF OR COMPLAINTS TO BE CONSIDERED REASON TO DISRUPT SOUL-LEARNING PROCESS.
WHILE EXPERIENCING MYSELF WITHIN EARTH PROGRAM 7.0, I WILL AT NO TIME HAVE ACCESS TO DIRECT EVIDENCE OF THE ULTIMATE TRUTH. WITH THE EXCEPTION OF TRACE AMOUNTS IN THE FOLLOWING AREAS: DREAMS 2) INTUITION 3) ART AND MUSIC, AND 4) COINCIDENCE (I UNDERSTAND THAT ALL COINCIDENCE MUST BE APPROVED BY EARTH PROGRAM 7.0 ADMINISTRATION.)
EARTH PROGRAM 7.0 GUARANTEES A “DEATH” EXPERIENCE CONSISTENT WITH BELIEFS, INCLUDING BUT NOT LIMITED TO TUNNEL OF LIGHT, “HEAVEN,” AND ALL OTHER BELIEF SYSTEMS, RELIGIOUS OR OTHERWISE. EARTH PROGRAM 7.0 IS THE ONLY SEAMLESS TIME SPACE LEARNING GRID TO OFFER A FULL 28 MINUTE DEATH EXPERIENCE MIRRORING USER EXPECTATIONS.
IMMEDIATELY PROCEEDING DEATH EXPERIENCE, REVERSAL OF GOD-AMNESIA WILL OCCUR. TOTAL SOUL ENERGY REQUIRED DURING REQUESTED LIFE WILL BE NO GREATER THAN 9.12%.
LEARNING:
I UNDERSTAND THAT THE PHYSICAL LIFE EXPERIENCE I REQUEST MUST CONTAIN A CUMULATIVE TOTAL OF 210 HARDSHIP AND BETRAYAL POINTS. POINT SHEET ATTACHED.
BETRAYAL SEQUENCES MUST BE PRE-ARRANGED BETWEEN SOUL-PARTNERS. THE LEARNING VALUE OF EVERY BETRAYAL SEQUENCE IS PROPORTIONATE TO THE SOUL LOVE BETWEEN “BETRAYER” AND “BETRAYEE.”
WITHIN EARTH PROGRAM 7.0, NOTHING I CAN BE, SAY OR DO CAN JEOPARDIZE MY STANDING WITH GOD. THIS PHYSICAL PROCESS WILL AFFIRM MY LOVABLENESS, INNOCENCE AND THE TRUTH OF MY DIVINE HERTITAGE.
EARTH PROGRAM 7.0 WILL PRODUCE A SEAMLESS INTERACTIVE REALITY GRID THAT IS EXPERIENTIALLY RESPONSIVE IN ALL WAYS, INCLUDING BUT NOT LIMITED TO A TIME-SPACE GRID OF UNSURPASSED QUALITY.
MANIFEST PARAMETERS:
THOUGHTS AND EMOTIONS CREATE PRIMARY EXPERIENCE WITHIN THIS PHYSICAL GRID. FOR THIS REASON, THE MANIFEST RATE OF EARTH PROGRAM 7.0 IS INTENTIONALLY REDUCED TO 2%.
WHILE IN THIS SEAMLESS PHYSICAL GRID, I RETAIN 100% CREATORSHIP WITHIN MY INNER REALITY. I HAVE CONTROL OF MY THOUGHTS, EMOTIONS AND FEELINGS.
AT ALL TIMES, MY EXPERIENCE WILL DIRECTLY MIRROR MY PREDOMINANT THOUGHTS, FEELINGS AND EMOTIONS.
MY ANGEL HAS BRIEFED ME ON THE FOLLOWING POINTS:
____ MY PHSYICAL SOUL WILL BEGIN THE PROCESS CRYING.
____ MY HIGHER SELF WILL BE WITH ME AT ALL TIMES.
____ I UNDERSTAND THE EFFECTS OF GOD-AMNESIA.
____ I HAVE BEEN BRIEFED ABOUT THE IMPORTANCE OF PRAYERFULNESS
____ I HAVE BEEN BRIEFED ABOUT THE FREQUENT FLYER PROGRAM.
____MY ANGEL HAS INFORMED ME THAT I MAY BE ELIGIBLE TO LIVE A LIFE AS A CAT, AND WE HAVE TOGETHER REVIEWED QUALIFICATIONS FOR THE “EAT AND WATCH PROGRAM.”
I SHALL AT ALL TIMES POSSESS THE HEALING POWER OF LOVE. SAID POWER WILL REMAIN DORMANT UNTIL RELEASED THROUGH INNER SPIRITUAL WORK. SAID POWERS ARE CAPABLE OF HEALING ANY AND ALL POSSIBLE AILMENTS WITHIN EARTH PROGRAM 7.0.
I AM FREE TO STAND-UP, SIT DOWN, MINGLE, DANCE, OR FLY AROUND THE LOBBY UNTIL SAID LIFE IS COMPLETE.
____I UNDERDSTAND EARTH PROGRAM IS NOT FOR BEGINNERS.
____I UNDERSTAND THIS WILL NOT BE EASY.
____I WILL HAVE NO MEMORY OF THIS CONTRACT OR ANY SPECIFIC HIGHER PURPOSE.
_____________________________________________
Friday, December 4, 2009
WELL OF COURSE I AM!
His mother brought him in. Ricky had been strumming his toy guitar every day, and she asked if was too early for lessons.
Our beginning was tentative, although I have become accustomed to prying words out of kids in the first lesson. Ricky's wobbly fingers were unable to negotiate even the simplest one-finger chords. He was four and a half, my youngest student ever. I had him strum the strings, copying the rhythm of my playing.
When he smiled, light seemed to pour from his eyes as they alternated between me, his new teacher, and our wildly strumming hands. As I gradually increased the speed, we clenched our teeth and exchanged growling facial expressions, racing toward the collision of a million notes-flying-everywhere. We laughed together.
My favorite moment is when a child and I lose ourselves in laughter--not at clever jokes or someone coming "down to their level." Not smirks or giggles, but real laughter, as we look each other right in the eye holding our stomachs. That's real. That's when you know you are buddies.
Encouraging him on, I say, "Who are you trying to fool, telling me you are a beginner and then strumming like that? Are you going to give me lessons?" We laughed like brothers reunited.
Ricky's eyes occasionally wandered upward in his sockets. I would have panicked, but his relaxed demeanor told me there was no need for alarm.
We discussed the parts of the guitar. We played 'Simon says' which is always a big hit. Soon Ricky was pointing to the sound-hole and bridge and tuners on his own guitar. We did all the usual stuff you do with one of those miniature toy guitars guaranteed to stay out of tune through the next millennium.
We were together counting the strings when I noticed his confusion. His smile quickly vanished, and tears suddenly poured from his eyes. A terrified ashamed voice cried, "I'll never count the strings! My big brothers tell me I can't think right!"
My stomach tightened as I quickly found myself mourning this child's terrible loss. I felt like the air had been knocked out of me with a 2 x 4. It was all I could do to smile while seeing the deep pain Ricky carried inside. I could feel that same pain in me.
I quickly changed gears and resorted to questions I was sure he could answer. Soon back on track, we were bobbing our heads to the rhythm of "Mr. Frog Is Full Of Hops." But the smile he gave me minutes ago was gone, tainted now by self-doubt.
I had to say something."Ricky?" I said now serious.
His innocent eyes connected with mine. "Yes?"
"I think you are a special kid."
Ricky look downward. Then a whispered voice of reassurance left his lips. "Well of course I am," he replied. The announcement was so smooth that it could have passed without notice.
As though I had just glimpsed a ghost in the room, my mind struggled to make sense, to rewind the wisdom of a saint before it melted like snow in the sun. Those weren't four-year-old words! It was as if God himself had uttered an immutable truth.
Ricky was already in tow to the place where the rest of us have taken up residence--where "who we are" becomes less important than "what we do." We tell ourselves careers or homes or things is what defines us. We pretend not to care about the dreams we left behind, and we learn to fit the role bestowed by others.
Ricky's brothers may have teased him ruthlessly. And the sounds from his guitar may have been out of tune. But for Ricky, on that particular day, and in that small room, the melody of his spirit was divine and unforgettable--a song for sure. It was a song wordlessly communicating his birthright to happiness. We are not valuable because of what we can do or what we become. We are valuable because we are here.
Little Ricky may not become a brilliant physicist or engineer, but with visible pride and joy, he could demonstrate how his guitar could vibrate and clang and push out sounds as his fingers thrashed those out-of-tune strings. He could sit with me and face his worst nightmare--that he is not what others say that he should be. Ricky reminded me that it is the joy we feel in what we do that gives us meaning.
My heart went out to Ricky because he expressed the fear most of us endure in silence--that we are not good enough. Beyond the torture of that feeling and the teasing of his brothers about what he could not change, he had that soft still voice reminding him, "Well of course I am." He could still hear the innocent and Christ-like voice of self-love ringing like a perfect note in his ears.
Who were you trying to fool, Ricky? You were a song long before you could count those strings--long before your little body walked into that room, and long before you became a little boy with a learning disability.
After that day, I had a dream that Ricky and I were standing before God. For some reason, I heard myself explaining that although others may think Ricky isn't good enough, he is beautiful and innocent and perfect.
God answered, "Well of course I am!"
.......................................
Maryann Munroe is a phenomenal spiritual counselor who works with families of children with special needs. Contact: Maryann Youtube or Maryann spoken word audio
KEYWORDS: Keywords special education special education resources special children special school children with disabilities disabled children disabilities people with disabilities developmental disabilities developmental disability inclusion disability autistic children autistic special education interventions assistive technology special education strategies special education classroom special education inclusion special education modifications autism spectrum disorder special education programs dyspraxia autism cerebral palsy social skills special education disabilities child disabilities children disabilities education special education teachers learning disabled disabled parents children disability special education schools autism support physical disabilities wheelchair children aspergers dyslexia autism inclusion asperger's autism resources learning difficulties physical disability intellectual disability special education software special education article special education definition special education history
Our beginning was tentative, although I have become accustomed to prying words out of kids in the first lesson. Ricky's wobbly fingers were unable to negotiate even the simplest one-finger chords. He was four and a half, my youngest student ever. I had him strum the strings, copying the rhythm of my playing.
When he smiled, light seemed to pour from his eyes as they alternated between me, his new teacher, and our wildly strumming hands. As I gradually increased the speed, we clenched our teeth and exchanged growling facial expressions, racing toward the collision of a million notes-flying-everywhere. We laughed together.
My favorite moment is when a child and I lose ourselves in laughter--not at clever jokes or someone coming "down to their level." Not smirks or giggles, but real laughter, as we look each other right in the eye holding our stomachs. That's real. That's when you know you are buddies.
Encouraging him on, I say, "Who are you trying to fool, telling me you are a beginner and then strumming like that? Are you going to give me lessons?" We laughed like brothers reunited.
Ricky's eyes occasionally wandered upward in his sockets. I would have panicked, but his relaxed demeanor told me there was no need for alarm.
We discussed the parts of the guitar. We played 'Simon says' which is always a big hit. Soon Ricky was pointing to the sound-hole and bridge and tuners on his own guitar. We did all the usual stuff you do with one of those miniature toy guitars guaranteed to stay out of tune through the next millennium.
We were together counting the strings when I noticed his confusion. His smile quickly vanished, and tears suddenly poured from his eyes. A terrified ashamed voice cried, "I'll never count the strings! My big brothers tell me I can't think right!"
My stomach tightened as I quickly found myself mourning this child's terrible loss. I felt like the air had been knocked out of me with a 2 x 4. It was all I could do to smile while seeing the deep pain Ricky carried inside. I could feel that same pain in me.
I quickly changed gears and resorted to questions I was sure he could answer. Soon back on track, we were bobbing our heads to the rhythm of "Mr. Frog Is Full Of Hops." But the smile he gave me minutes ago was gone, tainted now by self-doubt.
I had to say something."Ricky?" I said now serious.
His innocent eyes connected with mine. "Yes?"
"I think you are a special kid."
Ricky look downward. Then a whispered voice of reassurance left his lips. "Well of course I am," he replied. The announcement was so smooth that it could have passed without notice.
As though I had just glimpsed a ghost in the room, my mind struggled to make sense, to rewind the wisdom of a saint before it melted like snow in the sun. Those weren't four-year-old words! It was as if God himself had uttered an immutable truth.
Ricky was already in tow to the place where the rest of us have taken up residence--where "who we are" becomes less important than "what we do." We tell ourselves careers or homes or things is what defines us. We pretend not to care about the dreams we left behind, and we learn to fit the role bestowed by others.
Ricky's brothers may have teased him ruthlessly. And the sounds from his guitar may have been out of tune. But for Ricky, on that particular day, and in that small room, the melody of his spirit was divine and unforgettable--a song for sure. It was a song wordlessly communicating his birthright to happiness. We are not valuable because of what we can do or what we become. We are valuable because we are here.
Little Ricky may not become a brilliant physicist or engineer, but with visible pride and joy, he could demonstrate how his guitar could vibrate and clang and push out sounds as his fingers thrashed those out-of-tune strings. He could sit with me and face his worst nightmare--that he is not what others say that he should be. Ricky reminded me that it is the joy we feel in what we do that gives us meaning.
My heart went out to Ricky because he expressed the fear most of us endure in silence--that we are not good enough. Beyond the torture of that feeling and the teasing of his brothers about what he could not change, he had that soft still voice reminding him, "Well of course I am." He could still hear the innocent and Christ-like voice of self-love ringing like a perfect note in his ears.
Who were you trying to fool, Ricky? You were a song long before you could count those strings--long before your little body walked into that room, and long before you became a little boy with a learning disability.
After that day, I had a dream that Ricky and I were standing before God. For some reason, I heard myself explaining that although others may think Ricky isn't good enough, he is beautiful and innocent and perfect.
God answered, "Well of course I am!"
.......................................
Maryann Munroe is a phenomenal spiritual counselor who works with families of children with special needs. Contact: Maryann Youtube or Maryann spoken word audio
KEYWORDS: Keywords special education special education resources special children special school children with disabilities disabled children disabilities people with disabilities developmental disabilities developmental disability inclusion disability autistic children autistic special education interventions assistive technology special education strategies special education classroom special education inclusion special education modifications autism spectrum disorder special education programs dyspraxia autism cerebral palsy social skills special education disabilities child disabilities children disabilities education special education teachers learning disabled disabled parents children disability special education schools autism support physical disabilities wheelchair children aspergers dyslexia autism inclusion asperger's autism resources learning difficulties physical disability intellectual disability special education software special education article special education definition special education history
FAMILY DYSFUNCTION
I cannot even wrap my mind around a family that does not inform about the passing away of family members.
Those hurtful family members are victims of terrible abuse, emotional or physical/sexual, and they have not healed. They are still in the anger and rage and grieving. And worse, they are creating new pain for others.
The cycle is horrendous.
People who have been thru these kinds of emotional alienation often end up behaving in ways that violate societies behavioral standards.... so we have jails filled with, basically, children who were tortured, deprived of help and love, who then attempted to fend for themselves as "adults" though they were deprived of life as a child. They hurt people. They break rules. They learned what they were taught. It didn't work.
They end up in our prisons, where we can shake our head and think, "What freaks! I'm glad they are in there and I am out here!" But there is a bigger picture.
I hope that in 50 years, we will regard childhood and formative years as much more sacred and worthy of protection, and truly a "birthright" of all people.
Adults may claim it is THEIR birthright to have a child. I'm not concerned about that. It is the children who are innocent. Any child can be made into a loveless, angry, hurtful being.
For you to be smiling despite all of the family chaos and pain is a beautiful thing.
In fact, congratulations....You are a TEACHER!!
Those hurtful family members are victims of terrible abuse, emotional or physical/sexual, and they have not healed. They are still in the anger and rage and grieving. And worse, they are creating new pain for others.
The cycle is horrendous.
People who have been thru these kinds of emotional alienation often end up behaving in ways that violate societies behavioral standards.... so we have jails filled with, basically, children who were tortured, deprived of help and love, who then attempted to fend for themselves as "adults" though they were deprived of life as a child. They hurt people. They break rules. They learned what they were taught. It didn't work.
They end up in our prisons, where we can shake our head and think, "What freaks! I'm glad they are in there and I am out here!" But there is a bigger picture.
I hope that in 50 years, we will regard childhood and formative years as much more sacred and worthy of protection, and truly a "birthright" of all people.
Adults may claim it is THEIR birthright to have a child. I'm not concerned about that. It is the children who are innocent. Any child can be made into a loveless, angry, hurtful being.
For you to be smiling despite all of the family chaos and pain is a beautiful thing.
In fact, congratulations....You are a TEACHER!!
Saturday, October 31, 2009
GET A BAND (strategy for bandless songwriters)
PURSUE A CAREER IN A WAY THAT 1) SAVES MONEY 2) GETS FASTER RESULTS 3) ATTRACTS BETTER MUSICIANS 4) EARNS MORE MONEY 5) MAKES YOUR MUSIC SOUND BETTER, 6) ALLOWS MORE CAREER CONTROL 7) GETS BETTER GIGS 8) ATTRACTS INVESTORS.
We will never know how many great songs never saw the light of day because undiscovered songwriters bought into the old school mindset: a songwriter must have a performing band before recording.
Here is an alternate approach to music, which we will refer to here as "CD before band." It has been used as a starting point for hundreds of successful artists, yet is relatively unknown to most aspiring songwriters. In a nutshell, you do things backwards: Beginning with a CD-quality recording. As a band is put together (which is easier when you have great- sounding professional music) the artist simultaneously submits to labels, radio stations, management companies, booking agents, independent promoters, publicists and local clubs.
Here are a few reasons why the "CD before band" approach saves money and gets faster results:
1) SAVES MONEY
It's no secret that having a band costs money. If you choose to put a band together before doing serious recording, you must consider expenses on several fronts:
Rehearsal costs can be huge, and in the real world, rehearsals often occur after an 8-hour workday. With the most expensive arrangement, bands keep their equipment set up in their own rehearsal room at all times. In other situations, band practice time begins with musicians moving their equipment from a storage area into the rehearsal room itself. Often, each band member hauls equipment home after each practice session, storing it somewhere else until the next rehearsal, repeating the process each time. So It's entirely conceivable that the band members are moving drums and heavy amplifiers four times per single rehearsal (into vehicle at home, out of vehicle at rehearsal, then reversing the routine when band practice is done).
There are real costs of rehearsing a band, depending on whether you run the PA system yourself or rent it out. And don't forget guitar and bass strings and drum sticks and tubes for amps and general equipment repair and maintenance.
Live performances are fun, but from a business perspective, shows will undoubtedly fall into the "expenses" category. Remember that after flyers and posters for each show are designed and paid for, each band member is expected to become a marketer, hyping friends and sending emails to everyone each time the band does a show.
In highly competitive environments like Hollywood or other major cities, clubs often require bands to guarantee ticket sales. If the performance contract is not fulfilled, the band pays penalty fees.
For example, a 4-member band might be required to sell 100 tickets in order to play a show. So each member must personally sell 25 tickets (when he or she isn't working their day job or rehearsing in evenings). This type of situation can be OK, but it doesn't exactly make everyone feel more creative. In fact, it can suck the fun and the team-spirit vibe right out of the band.
As a part for their marketing campaign, many bands pay for expensive display ads or radio spots. Some clubs charge mandatory "promotion fees," to cover costs of this kind of advertising. And don't forget the often overlooked part of doing shows, finding and training a soundman who knows your material! Hint: the guy who is willing to do your sound for free is the one you don't want.
Then there is the expense and time-investment for a crew: guitars techs and drum techs. Flyers for shows require a professional photo session. Yes, everyone's sister has a new digital camera. But the picture won't project a marketable image for the band unless you have a pro take care of it for you. Here's what 90% of amateur bands don't understand: If you don't have a professional shoot your promotion photos, then you may very well be sending this message to record labels and people you wish to impress "We are beginners who do not understand the importance of image and marketing." It's about looking like the real thing to industry veterans.
Some of the artists you are competing with will be budgeted for every possible thing, including wardrobe expenses, stage set designers, lights show costs, and there are even professional stage presence coaches. It can go on and on.
2) FASTER RESULTS
Is the "CD before band" route more time-efficient? Yes, and for many reasons. Bands often spend 12-months looking for the right bassist or drummer! After someone with the right playing skill, attitude, goals and experience is found, personality conflicts can later surface... in a month or in a year. Long after the band has invested in the learning time required by a new band member.
Do you want your career to bounce up and down according to other people's personal problems and adolescent dramas? Bad business formula.
3) ATTRACT PRO MUSICIANS
How much better would your original songs sound if they were played by top professionals? No industry veteran will argue with this truth: Bands with professionally produced songs attract the highest caliber players. The alternative to "CD before band"? As a bandless songwriter, the artist must sort through an ocean of local players.
Lets talk about you, as a songwriter, sifting through local musicians to put a band behind your songs.
For the moment, lets say you've been able to get the word out about putting together a band. You now face a dual objective: Weed out the flakes, and at the same time convince callers that you are their best chance of music biz success. As a bandless songwriter, you are in an awkward position. You are attempting to interest musicians in your project... despite the fact that you do not have management, financial backing, bookings, attorney, label interest or industry track record.
It's like trying to sell a car without wheels. And don't forget this: Serious players, the ones that can truly propel your career forward, have their own flake-eliminator antenna up. They are searching for a situation with the greatest potential for upward mobility and the fewest obstacles. The experienced players will ask intelligent questions:
Here are some of the questions the experienced heavy hitters will ask (remember, these are the musicians you want in your band): "Do you have financial backing? Have you attracted record label interest? Radio connections? Any booking agents or hot contacts for shows? Any connections for getting on major bills as a warm up act?
Serious musicians, i.e. the ones you hope to hire snare, will expect answers to these questions. But they are also listening for other things. Do you sound confident as you explain the situation? Do you sound like you are making it up as you go? Do you seem like the kind of person that can take your music all the way to the finish line?
If your goal is to have a performing band before recording your CD, this will be the biggest obstacle: you do not have a recording that accurately represents your professionalism and musical vision. In the absence of well-recorded music, you will have choice but to communicate the depth and nuances of your musical vision with words.
Lets say you have an amateur demo, and you are using this to play for interested musicians. What are the chances of an amateur demo luring the very best players in the city? "Oh, all you have is a very basic demo?" may be the cool response of people you really want in your band. The beginners and players without a track record aren't so picky. The reality is that the players that are chomping at the bit to get in the band may be the ones that have trouble passing auditions.
Serious songwriters be forewarned: For each player who has their act together, you will interview ten musicians who do not have the talent, attitude, or work style to fit your goals.
If you are dead serious about finding solid committed players, your search may feel like a "wanna be" nightmare. On the phone, everyone claims to be a professional. But which musician will cancel at the last minute because their mom can't drive them to the audition? Which musicians will schedule a time with no real intention of even showing up? Are there musicians answering ads who do not even own their own instrument? Absolutely. Will they volunteer that information? No. Because the industry thrives on hype, it's not easy to know who will ultimately be wasting your time.
These are reasons why putting together a band without the forward inertia of a professionally produced CD is time-consuming and expensive. As you can see, the road requires the songwriter to become a sort of used car salesman, requiring skillful use of smoke and mirrors. From a business perspective, it's the slow way to gather momentum, often resulting in a sea of endless expenses and obstacles.
In some ways, it's a balancing act. How many bass player and drummer auditions will the new guitarist put up with before he or she bails?
4) EARN MORE MONEY
With the "CD before band" approach, the singer / songwriter demonstrates resourcefulness, business know-how, and the ability to write songs. That's awesome for lots of reasons. Most importantly, the record companies are focused on YOU.
Singers attempting to start their career the more traditional way, by first putting a band together, join the invisible crowd of other unsigned artists submitting demos. These artists all sincerely believe their recordings are great. They submit to radio stations, local press, management companies, concert promoters, record labels and the music industry at large. Real world example: A recent unsigned talent contest generated 40,000 entries, with online advertising only!
Also, with the traditional "band before CD" situations, the band members who rehearsed and performed prior to pivotal recordings often feel they are entitled to compensation as songwriter(s). For this reason, many bands make personnel changes (or break up!) after commercial success. Think about this aspect of the band-before CD approach: More work. More time investment. More expenses. And when you finally get to the finish line... you make less money! Why? Because the other musicians want you to write them into ongoing royalties.
5) MORE CONTROL OF YOUR CAREER
With the "CD before band" approach, it is obviously the songwriter that put the studio and producer and music together in the first place. And in the big picture, it was you who then offered real opportunities to other players. Bottom line: Your CD made everything else possible.
So what? So the record label is focused on keeping you happy. Congratulations, your life is less about adolescent band dramas, and more about hiring the best musicians and paying them fairly. Music industry decision-makers are interested the people who write the songs!
Because the band is about your songs, your career is less about personality conflicts, drug problems or other personal problems that create complications, slow your career down, or result in the loss of a recording contract.
Record labels often exclude non-songwriters from recording contracts. In the "CD before band" scenario, the original songwriter is the undisputed leader and propelling force behind the band. Stability is a rare commodity in this business, so if you can create that for yourself, more power to you!
6) BETTER MUSIC
Beginning your career with the traditional band-before-CD route, your bandmates will be creating the musical parts for your songs. Those parts that will eventually be recorded... often at the expense of your original musical vision. Most aspiring musicians do not have the insight or perspective a qualified producer brings to the table. The skill level of band members can cripple a song, or take it to the next level. Without a veteran producer on your team, it's going to be up to you to know the difference.
Therefore, in band-before-CD approach, the character of your songs is the result of a vote (at best) between band members who often have little or no experience in songwriting, production or arrangement.
If you don't like the way a band member's playing is shaping your songs, you have two choices. You can do nothing and allow your musical vision to be compromised, or place a musician-wanted ad and open your door to another cattle-call. It's very important to understand the gravity of this predicament that you, as a songwriter, may find yourself in. If you don't like your bass player, you must then ask every other band member to place their careers on hold while you start from scratch searching for a new bass player. A task requiring additional rehearsals, time and money investment from the career-minded players in your band.
Also, if your songs aren't sounding right, how will you be able to identify which parts and/or bandmembers are limiting the potential of your tunes? That requires a good set of experienced ears.
Remember, by choosing to make a personnel change, you are asking exceptionally talented players who have invested a substantial investment of time and money, to put everything on hold. They may feel they are taking a step backwards because the goal of playing shows has been replaced with endless auditions and more waiting while another new member gets up to speed.
With the "CD before band" approach as described here, each musical element is painstakingly aligned to a vision shared by the songwriter and the producer (more about session musicians later).
7) BETTER GIGS
Maybe "CD before band," should actually be called "CD before band and gigs."
Wouldn't it be cool to start playing your hometown club scene at the top? Performing for packed audiences at the hottest venues sure beats playing embarrassing off-nights in front of mom, dad, and your girlfriend. Most live music fans know that Friday and Saturday nights are reserved for the very best talent.
With most clubs, Sunday through Thursday nights are opportunities for new acts that have not yet developed a following. Bands that recorded at uncle Joe's home studio (yes it's true, all their friends think it sounds "awesome") and are trying to get an agent and radio play and press... like every other band with a recording software or a hard disk recorder.
You, on the other hand, can arm yourself with a professional CD demonstrating the highest levels of professionalism, accentuating aspects of your talents that lesser recordings would not reveal.
The "CD before band" approach gives you the career-advancing momentum other songwriters do not possess. Your own CD with songs and a sound that is competitive with big budget releases will change everything, and places you, in a whole different category in the minds of music industry professionals. Here's what can happen in a very short period of time:
1) Radio stations are playing your songs.
2) Legit Artist Management in New York has asked to see the band live.
3) Two record companies have offered to help pay for a demo of your newest songs.
4) Your CD is selling at AMAZON.COM.
5) The band is developing a fan-base all over the world via MP3 song samples and it's own website.
6) For the next photo session, the band is now deciding between 3 professional photographers.
7) CD's are selling well at packed local shows.
8) Your MySpace site is exploding with 500 new friends each week.
Sure, every band hypes club owners and booking agents. But when people in the industry hear an over-the-top CD, they EXPECT BIG THINGS TO HAPPEN.
Lets talk about a best-case scenario: What happens when local journalists, club owners, and booking agents spot a band obviously destined for the big time? They jump onboard. They want to be one of the people who helped "break the band," ...to be able to say they were "right there when it happened."
A band in this situation receives additional help on every level. Local industry professionals participate in any way they can. It's gives them additional credibility. Your bands success is one more success story for their resume. Imagine industry veterans helping to put together your band, while your CD sells online. Imagine the "snowball effect" of industry buzz ...about your songs! Your band. A careful look at virtually any major label signing will reveal a similar scenario.
8) ATTRACT INVESTORS
As far as designing your own music career, you are better off with just about any scenario short of using a record label for investment capitol. Private investors (or to put it simply, people with money) want three things: 1) ego fulfillment, 2) fun, and 3) involvement in a situation that makes them feel creative.
Financial investors want to feel important, like the rest of us. Which band is more fun to work with? ...one that gigged 5-years before getting some local airplay and good reviews, or a band that accomplishes the same in 3 months? Put yourself in the investor's shoes. If you had a boatload of money, which band would you pick as a business investment? Which band would be the most exciting business endeavor?...The band that breaks all the rules by starting at the top, or the band that started at the bottom, kept showing up, and by default, developed a following? There is no question about it. The band with an unstoppable CD and the element of surprise is an investors dream-come-true.
HOW DOES A SONGWRITER "GET A BAND" IN THE RECORDING STUDIO?
1) Professional production, 2) Expert programming utilizing MIDI and samples, and 3) Great musicians. Note: If you've heard amateur musicians playing around with MIDI, then you know how bad MIDI can sound. But in the hands of a beginner, so can Jimi Hendrix's guitars.
In one form or another, MIDI is a tool used by every top producer. MIDI and samples can be used to create temporary building blocks. Used in this way, they are tools allowing the producer and artist to explore ideas and arrangements possibilities without the expense of re-recording drums and other parts. The result: Higher production values. Superior song arrangements. Easier on the wallet.
As far as the "great musicians" part of the equation, session players can be an crucial part of a songwriters career launch. A typical session musician situation might go like this: A session player arrives at the recording studio and listens to your song. After working with the song for 20-minutes, the session musician records the ultimate performance.
NOTE: There is a whole world of nuances, listening skills, and playing skills required by the highest caliber radio-style productions. Musicians without these advanced skills are usually unaware that these nuances exist. Because they do not hear how professional musicians play to the finer nuances of music, they reason that they can record and play as well as the top players in their field. It's a catch- 22 situation, resulting in a great deal of confusion for songwriters putting together bands, as well as for producers opening their doors to new local talent.
Bottom line with session players: In about an hour, he will probably record better tracks than the guy who has been playing the song for a year. And from a dollars and cents standpoint, chalk another up for the CD-before band approach. How much time and money is involved with rehearsing a band for a year? And if you are keeping a band rehearsing for a year (so that you can eventually record a CD), what other substantial time and money investments would should be considered?
We don't hear much about session players because from a marketing standpoint, fans want to hear music created by "a band." Music fans don't want to think of our favorite artist in terms of business transactions, or musicians loaning their talents out at an hourly rate. But session players are a time-tested reality of the music business with an undisputed track record. Music recorded with session pros has resulted in a continuous flow of major label signings and hundreds of gold and platinum successes.
If you want to hear successful music that was created in this way... turn on the radio!
HOW MANY SONGS SHOULD BE ON A "CD?"
The music industry once frowned upon CD's (or albums) with less than 10 – 13 songs. These days, publicists, radio people and industry decision-makers welcome CD's with less tracks. Why? A three to six song release requires less listening time and is therefore easier to review. EP's are good news for songwriters because:
1) Fewer songs means more production time for each tune, resulting in higher overall production values.
2) Fewer songs is easier on the budget.
3) Fewer songs means only the best material gets released. The weak songs don't get heard, increasing chances of commercial success and enhancing public perception.
REMEMBER: A) Impressive sales, strong production values and great songs are the necessary ingredients for generating local radio and press. B) Record labels focus on artists that are able to create momentum on their own.
When was the last time you heard a recording studio ask their clients to record fewer songs? Rather than cash in on a heap of studio hours, we'd rather know that a CD with our name on it is going make a big impression no matter where it is heard.
A producer looks at each CD as a business card. Either attracting more business or pushing it away. When a CD is extraordinary, the artists career moves forward, as does the producer who helped make it happen. It's called a resume.
The quantity-based approach to CD production is the fastest way to waste money, and it's the most common mistake among aspiring songwriters (the second most common mistake is lack of stylistic focus). With quantity as a priority, production values are compromised, and bands unknowingly suck the potential out of material. Listen to the radio. Those are songs that have been arranged and re-arranged and re-written and massaged until they sounded... like songs on the radio.
Just say NO to the voice in your head that says, "we will record every one of our 14 songs if it's the last thing we do." It's a beginner strategy, and nine times out of ten, it's a train that will crash. Instead, pick your best 3, and take those songs (and your career) to the next level.
GREAT SONGS: CUSTOM-WRITTEN FOR YOU
Songwriting is a part of every CD project at Christopherson Productions. A composer with a music industry track record is able to finish songs that seem to be stuck as incomplete song forms, or promising ideas that somehow fell victim to writers block. A skilled songsmith can custom compose full genre-specific songs, or partial works, depending on the needs of the songwriter. Radio programmers chose "Soul rendezvous" as the first radio single from the Lynn Maas CD "Wingless Angel." Music and melody for the song was custom composed by Christopherson for Lynn. Hear the song now at www.LynnMaas.com.
Our in-house publishing company, Cherishment Music, is administered through BMI. So if having a publishing company with a track record in both radio and national media is important to you, then submit your copyrighted material right away!
Many happy clients have entire songs custom-written for their own CD releases. Songs written by Daniel Christopherson have been featured in major motion picture soundtracks (Warren Miller's "Journey" viewed for 500,000 in 2004), Fox Television shows, and in CD productions by Lynn Maas ("Wingless Angel" CD now receiving national airplay), Kathy Walker, Washington State Idol Contest winner Jessica Oliver, Elle Scott, Ryan Marsh, One Zillion Guitars, Laurie Solheim, Our Funeral Forgotten, Damnaged and Petra Tilotta (KLSY 92.5 FM and KOMO 5 TV Talent Search), the talented young lady who sings the National Anthem at Mariners games.
BY DANIEL CHRISTOPHERSON COPYRIGHT 2007
We will never know how many great songs never saw the light of day because undiscovered songwriters bought into the old school mindset: a songwriter must have a performing band before recording.
Here is an alternate approach to music, which we will refer to here as "CD before band." It has been used as a starting point for hundreds of successful artists, yet is relatively unknown to most aspiring songwriters. In a nutshell, you do things backwards: Beginning with a CD-quality recording. As a band is put together (which is easier when you have great- sounding professional music) the artist simultaneously submits to labels, radio stations, management companies, booking agents, independent promoters, publicists and local clubs.
Here are a few reasons why the "CD before band" approach saves money and gets faster results:
1) SAVES MONEY
It's no secret that having a band costs money. If you choose to put a band together before doing serious recording, you must consider expenses on several fronts:
Rehearsal costs can be huge, and in the real world, rehearsals often occur after an 8-hour workday. With the most expensive arrangement, bands keep their equipment set up in their own rehearsal room at all times. In other situations, band practice time begins with musicians moving their equipment from a storage area into the rehearsal room itself. Often, each band member hauls equipment home after each practice session, storing it somewhere else until the next rehearsal, repeating the process each time. So It's entirely conceivable that the band members are moving drums and heavy amplifiers four times per single rehearsal (into vehicle at home, out of vehicle at rehearsal, then reversing the routine when band practice is done).
There are real costs of rehearsing a band, depending on whether you run the PA system yourself or rent it out. And don't forget guitar and bass strings and drum sticks and tubes for amps and general equipment repair and maintenance.
Live performances are fun, but from a business perspective, shows will undoubtedly fall into the "expenses" category. Remember that after flyers and posters for each show are designed and paid for, each band member is expected to become a marketer, hyping friends and sending emails to everyone each time the band does a show.
In highly competitive environments like Hollywood or other major cities, clubs often require bands to guarantee ticket sales. If the performance contract is not fulfilled, the band pays penalty fees.
For example, a 4-member band might be required to sell 100 tickets in order to play a show. So each member must personally sell 25 tickets (when he or she isn't working their day job or rehearsing in evenings). This type of situation can be OK, but it doesn't exactly make everyone feel more creative. In fact, it can suck the fun and the team-spirit vibe right out of the band.
As a part for their marketing campaign, many bands pay for expensive display ads or radio spots. Some clubs charge mandatory "promotion fees," to cover costs of this kind of advertising. And don't forget the often overlooked part of doing shows, finding and training a soundman who knows your material! Hint: the guy who is willing to do your sound for free is the one you don't want.
Then there is the expense and time-investment for a crew: guitars techs and drum techs. Flyers for shows require a professional photo session. Yes, everyone's sister has a new digital camera. But the picture won't project a marketable image for the band unless you have a pro take care of it for you. Here's what 90% of amateur bands don't understand: If you don't have a professional shoot your promotion photos, then you may very well be sending this message to record labels and people you wish to impress "We are beginners who do not understand the importance of image and marketing." It's about looking like the real thing to industry veterans.
Some of the artists you are competing with will be budgeted for every possible thing, including wardrobe expenses, stage set designers, lights show costs, and there are even professional stage presence coaches. It can go on and on.
2) FASTER RESULTS
Is the "CD before band" route more time-efficient? Yes, and for many reasons. Bands often spend 12-months looking for the right bassist or drummer! After someone with the right playing skill, attitude, goals and experience is found, personality conflicts can later surface... in a month or in a year. Long after the band has invested in the learning time required by a new band member.
Do you want your career to bounce up and down according to other people's personal problems and adolescent dramas? Bad business formula.
3) ATTRACT PRO MUSICIANS
How much better would your original songs sound if they were played by top professionals? No industry veteran will argue with this truth: Bands with professionally produced songs attract the highest caliber players. The alternative to "CD before band"? As a bandless songwriter, the artist must sort through an ocean of local players.
Lets talk about you, as a songwriter, sifting through local musicians to put a band behind your songs.
For the moment, lets say you've been able to get the word out about putting together a band. You now face a dual objective: Weed out the flakes, and at the same time convince callers that you are their best chance of music biz success. As a bandless songwriter, you are in an awkward position. You are attempting to interest musicians in your project... despite the fact that you do not have management, financial backing, bookings, attorney, label interest or industry track record.
It's like trying to sell a car without wheels. And don't forget this: Serious players, the ones that can truly propel your career forward, have their own flake-eliminator antenna up. They are searching for a situation with the greatest potential for upward mobility and the fewest obstacles. The experienced players will ask intelligent questions:
Here are some of the questions the experienced heavy hitters will ask (remember, these are the musicians you want in your band): "Do you have financial backing? Have you attracted record label interest? Radio connections? Any booking agents or hot contacts for shows? Any connections for getting on major bills as a warm up act?
Serious musicians, i.e. the ones you hope to hire snare, will expect answers to these questions. But they are also listening for other things. Do you sound confident as you explain the situation? Do you sound like you are making it up as you go? Do you seem like the kind of person that can take your music all the way to the finish line?
If your goal is to have a performing band before recording your CD, this will be the biggest obstacle: you do not have a recording that accurately represents your professionalism and musical vision. In the absence of well-recorded music, you will have choice but to communicate the depth and nuances of your musical vision with words.
Lets say you have an amateur demo, and you are using this to play for interested musicians. What are the chances of an amateur demo luring the very best players in the city? "Oh, all you have is a very basic demo?" may be the cool response of people you really want in your band. The beginners and players without a track record aren't so picky. The reality is that the players that are chomping at the bit to get in the band may be the ones that have trouble passing auditions.
Serious songwriters be forewarned: For each player who has their act together, you will interview ten musicians who do not have the talent, attitude, or work style to fit your goals.
If you are dead serious about finding solid committed players, your search may feel like a "wanna be" nightmare. On the phone, everyone claims to be a professional. But which musician will cancel at the last minute because their mom can't drive them to the audition? Which musicians will schedule a time with no real intention of even showing up? Are there musicians answering ads who do not even own their own instrument? Absolutely. Will they volunteer that information? No. Because the industry thrives on hype, it's not easy to know who will ultimately be wasting your time.
These are reasons why putting together a band without the forward inertia of a professionally produced CD is time-consuming and expensive. As you can see, the road requires the songwriter to become a sort of used car salesman, requiring skillful use of smoke and mirrors. From a business perspective, it's the slow way to gather momentum, often resulting in a sea of endless expenses and obstacles.
In some ways, it's a balancing act. How many bass player and drummer auditions will the new guitarist put up with before he or she bails?
4) EARN MORE MONEY
With the "CD before band" approach, the singer / songwriter demonstrates resourcefulness, business know-how, and the ability to write songs. That's awesome for lots of reasons. Most importantly, the record companies are focused on YOU.
Singers attempting to start their career the more traditional way, by first putting a band together, join the invisible crowd of other unsigned artists submitting demos. These artists all sincerely believe their recordings are great. They submit to radio stations, local press, management companies, concert promoters, record labels and the music industry at large. Real world example: A recent unsigned talent contest generated 40,000 entries, with online advertising only!
Also, with the traditional "band before CD" situations, the band members who rehearsed and performed prior to pivotal recordings often feel they are entitled to compensation as songwriter(s). For this reason, many bands make personnel changes (or break up!) after commercial success. Think about this aspect of the band-before CD approach: More work. More time investment. More expenses. And when you finally get to the finish line... you make less money! Why? Because the other musicians want you to write them into ongoing royalties.
5) MORE CONTROL OF YOUR CAREER
With the "CD before band" approach, it is obviously the songwriter that put the studio and producer and music together in the first place. And in the big picture, it was you who then offered real opportunities to other players. Bottom line: Your CD made everything else possible.
So what? So the record label is focused on keeping you happy. Congratulations, your life is less about adolescent band dramas, and more about hiring the best musicians and paying them fairly. Music industry decision-makers are interested the people who write the songs!
Because the band is about your songs, your career is less about personality conflicts, drug problems or other personal problems that create complications, slow your career down, or result in the loss of a recording contract.
Record labels often exclude non-songwriters from recording contracts. In the "CD before band" scenario, the original songwriter is the undisputed leader and propelling force behind the band. Stability is a rare commodity in this business, so if you can create that for yourself, more power to you!
6) BETTER MUSIC
Beginning your career with the traditional band-before-CD route, your bandmates will be creating the musical parts for your songs. Those parts that will eventually be recorded... often at the expense of your original musical vision. Most aspiring musicians do not have the insight or perspective a qualified producer brings to the table. The skill level of band members can cripple a song, or take it to the next level. Without a veteran producer on your team, it's going to be up to you to know the difference.
Therefore, in band-before-CD approach, the character of your songs is the result of a vote (at best) between band members who often have little or no experience in songwriting, production or arrangement.
If you don't like the way a band member's playing is shaping your songs, you have two choices. You can do nothing and allow your musical vision to be compromised, or place a musician-wanted ad and open your door to another cattle-call. It's very important to understand the gravity of this predicament that you, as a songwriter, may find yourself in. If you don't like your bass player, you must then ask every other band member to place their careers on hold while you start from scratch searching for a new bass player. A task requiring additional rehearsals, time and money investment from the career-minded players in your band.
Also, if your songs aren't sounding right, how will you be able to identify which parts and/or bandmembers are limiting the potential of your tunes? That requires a good set of experienced ears.
Remember, by choosing to make a personnel change, you are asking exceptionally talented players who have invested a substantial investment of time and money, to put everything on hold. They may feel they are taking a step backwards because the goal of playing shows has been replaced with endless auditions and more waiting while another new member gets up to speed.
With the "CD before band" approach as described here, each musical element is painstakingly aligned to a vision shared by the songwriter and the producer (more about session musicians later).
7) BETTER GIGS
Maybe "CD before band," should actually be called "CD before band and gigs."
Wouldn't it be cool to start playing your hometown club scene at the top? Performing for packed audiences at the hottest venues sure beats playing embarrassing off-nights in front of mom, dad, and your girlfriend. Most live music fans know that Friday and Saturday nights are reserved for the very best talent.
With most clubs, Sunday through Thursday nights are opportunities for new acts that have not yet developed a following. Bands that recorded at uncle Joe's home studio (yes it's true, all their friends think it sounds "awesome") and are trying to get an agent and radio play and press... like every other band with a recording software or a hard disk recorder.
You, on the other hand, can arm yourself with a professional CD demonstrating the highest levels of professionalism, accentuating aspects of your talents that lesser recordings would not reveal.
The "CD before band" approach gives you the career-advancing momentum other songwriters do not possess. Your own CD with songs and a sound that is competitive with big budget releases will change everything, and places you, in a whole different category in the minds of music industry professionals. Here's what can happen in a very short period of time:
1) Radio stations are playing your songs.
2) Legit Artist Management in New York has asked to see the band live.
3) Two record companies have offered to help pay for a demo of your newest songs.
4) Your CD is selling at AMAZON.COM.
5) The band is developing a fan-base all over the world via MP3 song samples and it's own website.
6) For the next photo session, the band is now deciding between 3 professional photographers.
7) CD's are selling well at packed local shows.
8) Your MySpace site is exploding with 500 new friends each week.
Sure, every band hypes club owners and booking agents. But when people in the industry hear an over-the-top CD, they EXPECT BIG THINGS TO HAPPEN.
Lets talk about a best-case scenario: What happens when local journalists, club owners, and booking agents spot a band obviously destined for the big time? They jump onboard. They want to be one of the people who helped "break the band," ...to be able to say they were "right there when it happened."
A band in this situation receives additional help on every level. Local industry professionals participate in any way they can. It's gives them additional credibility. Your bands success is one more success story for their resume. Imagine industry veterans helping to put together your band, while your CD sells online. Imagine the "snowball effect" of industry buzz ...about your songs! Your band. A careful look at virtually any major label signing will reveal a similar scenario.
8) ATTRACT INVESTORS
As far as designing your own music career, you are better off with just about any scenario short of using a record label for investment capitol. Private investors (or to put it simply, people with money) want three things: 1) ego fulfillment, 2) fun, and 3) involvement in a situation that makes them feel creative.
Financial investors want to feel important, like the rest of us. Which band is more fun to work with? ...one that gigged 5-years before getting some local airplay and good reviews, or a band that accomplishes the same in 3 months? Put yourself in the investor's shoes. If you had a boatload of money, which band would you pick as a business investment? Which band would be the most exciting business endeavor?...The band that breaks all the rules by starting at the top, or the band that started at the bottom, kept showing up, and by default, developed a following? There is no question about it. The band with an unstoppable CD and the element of surprise is an investors dream-come-true.
HOW DOES A SONGWRITER "GET A BAND" IN THE RECORDING STUDIO?
1) Professional production, 2) Expert programming utilizing MIDI and samples, and 3) Great musicians. Note: If you've heard amateur musicians playing around with MIDI, then you know how bad MIDI can sound. But in the hands of a beginner, so can Jimi Hendrix's guitars.
In one form or another, MIDI is a tool used by every top producer. MIDI and samples can be used to create temporary building blocks. Used in this way, they are tools allowing the producer and artist to explore ideas and arrangements possibilities without the expense of re-recording drums and other parts. The result: Higher production values. Superior song arrangements. Easier on the wallet.
As far as the "great musicians" part of the equation, session players can be an crucial part of a songwriters career launch. A typical session musician situation might go like this: A session player arrives at the recording studio and listens to your song. After working with the song for 20-minutes, the session musician records the ultimate performance.
NOTE: There is a whole world of nuances, listening skills, and playing skills required by the highest caliber radio-style productions. Musicians without these advanced skills are usually unaware that these nuances exist. Because they do not hear how professional musicians play to the finer nuances of music, they reason that they can record and play as well as the top players in their field. It's a catch- 22 situation, resulting in a great deal of confusion for songwriters putting together bands, as well as for producers opening their doors to new local talent.
Bottom line with session players: In about an hour, he will probably record better tracks than the guy who has been playing the song for a year. And from a dollars and cents standpoint, chalk another up for the CD-before band approach. How much time and money is involved with rehearsing a band for a year? And if you are keeping a band rehearsing for a year (so that you can eventually record a CD), what other substantial time and money investments would should be considered?
We don't hear much about session players because from a marketing standpoint, fans want to hear music created by "a band." Music fans don't want to think of our favorite artist in terms of business transactions, or musicians loaning their talents out at an hourly rate. But session players are a time-tested reality of the music business with an undisputed track record. Music recorded with session pros has resulted in a continuous flow of major label signings and hundreds of gold and platinum successes.
If you want to hear successful music that was created in this way... turn on the radio!
HOW MANY SONGS SHOULD BE ON A "CD?"
The music industry once frowned upon CD's (or albums) with less than 10 – 13 songs. These days, publicists, radio people and industry decision-makers welcome CD's with less tracks. Why? A three to six song release requires less listening time and is therefore easier to review. EP's are good news for songwriters because:
1) Fewer songs means more production time for each tune, resulting in higher overall production values.
2) Fewer songs is easier on the budget.
3) Fewer songs means only the best material gets released. The weak songs don't get heard, increasing chances of commercial success and enhancing public perception.
REMEMBER: A) Impressive sales, strong production values and great songs are the necessary ingredients for generating local radio and press. B) Record labels focus on artists that are able to create momentum on their own.
When was the last time you heard a recording studio ask their clients to record fewer songs? Rather than cash in on a heap of studio hours, we'd rather know that a CD with our name on it is going make a big impression no matter where it is heard.
A producer looks at each CD as a business card. Either attracting more business or pushing it away. When a CD is extraordinary, the artists career moves forward, as does the producer who helped make it happen. It's called a resume.
The quantity-based approach to CD production is the fastest way to waste money, and it's the most common mistake among aspiring songwriters (the second most common mistake is lack of stylistic focus). With quantity as a priority, production values are compromised, and bands unknowingly suck the potential out of material. Listen to the radio. Those are songs that have been arranged and re-arranged and re-written and massaged until they sounded... like songs on the radio.
Just say NO to the voice in your head that says, "we will record every one of our 14 songs if it's the last thing we do." It's a beginner strategy, and nine times out of ten, it's a train that will crash. Instead, pick your best 3, and take those songs (and your career) to the next level.
GREAT SONGS: CUSTOM-WRITTEN FOR YOU
Songwriting is a part of every CD project at Christopherson Productions. A composer with a music industry track record is able to finish songs that seem to be stuck as incomplete song forms, or promising ideas that somehow fell victim to writers block. A skilled songsmith can custom compose full genre-specific songs, or partial works, depending on the needs of the songwriter. Radio programmers chose "Soul rendezvous" as the first radio single from the Lynn Maas CD "Wingless Angel." Music and melody for the song was custom composed by Christopherson for Lynn. Hear the song now at www.LynnMaas.com.
Our in-house publishing company, Cherishment Music, is administered through BMI. So if having a publishing company with a track record in both radio and national media is important to you, then submit your copyrighted material right away!
Many happy clients have entire songs custom-written for their own CD releases. Songs written by Daniel Christopherson have been featured in major motion picture soundtracks (Warren Miller's "Journey" viewed for 500,000 in 2004), Fox Television shows, and in CD productions by Lynn Maas ("Wingless Angel" CD now receiving national airplay), Kathy Walker, Washington State Idol Contest winner Jessica Oliver, Elle Scott, Ryan Marsh, One Zillion Guitars, Laurie Solheim, Our Funeral Forgotten, Damnaged and Petra Tilotta (KLSY 92.5 FM and KOMO 5 TV Talent Search), the talented young lady who sings the National Anthem at Mariners games.
BY DANIEL CHRISTOPHERSON COPYRIGHT 2007
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